Tuesday, June 30, 2009

AOL Music are streaming the entire new live CD from Grammy nominated jazz vocalist Kurt Elling, Dedicated to You: Kurt Elling Sings the Music of Coltrane and Hartman.

The album was released last week (6.23.09) on Concord Jazz.

Dedicated to You is Kurt Elling's eighth overall album and second release on Concord Jazz. The 12-track live collection features an all-star cast of musicians including saxophonist Ernie Watts, The Laurence Hobgood Trio and string quartet, ETHEL.

Sunday, June 28, 2009

When German emigrés Alfred Lion and Francis Wolff founded the Blue Note record label 70 years ago in New York City, jazz held most of the market for recorded music. Nowadays, it's decidedly a niche genre. So why do so many artists with mainstream success, from Norah Jones to Anita Baker, still want to record music for the legendary bastion of small-group instrumental jazz?

"The label has always stood for high quality," says its CEO, Bruce Lundvall, a former president of CBS Records and lifelong fan who helped resurrect Blue Note in 1985, after it petered out in the '70s. Even the fact it lay dormant in the heyday of airbrushed synth-pop feeds into Blue Note's matchless cachet - the label is synonymous with "cool."

So there will be no complaints on July 1, when Lund-vall becomes the first recipient of an award the Montreal Jazz Festival has named after him - the first of the festival's many prizes to be given to a businessperson rather than a musician. According to André Menard, the festival's artistic director, Lundvall "has taste and vision way beyond categorization."

Reached at his label's Manhattan headquarters, Lundvall comes across as a pragmatist who hasn't lost his ideals: "For me," he says, "music is what drives the business. If I sign the right artist, the business will follow. The ‘real thing' is what you're looking for always: the originals, the people who have the touch of God on their head."

Certainly his predecessor, Alfred Lion, found such artists - he helped launch the careers of icons such as Thelonious Monk, Herbie Hancock, Art Blakey, Freddie Hubbard, and Jimmy Smith, all of whom forged a bond over a number of years. Their albums, in turn, captivated younger generations of jazz cats. Pianist Bill Charlap, who has recorded for the label since 2000, recalls growing up with its music: "So often, you would get an album that you loved, and you would find that it was a Blue Note album. When my first album came out on Blue Note, it was a very good dream."

During the label's heyday in the '50s and '60s, engineer Rudy Van Gelder created a readily identifiable sound, with lively horn tones; crisp, ringing drums; and - somewhat controversially - a brittle, percussive piano attack. As well, Blue Note boasted arrestingly creative covers that form an indelible part of the iconography of the genre: Wolff's session photos were cropped and colour-filtered by designer Reid Miles.

Miles's Bauhaus-inspired efforts, apparently, created friction: "He and Frank Wolff used to fight all the time," says Lundvall, "because Frank hated the fact that he would cut off the top of an artist's head in the cropping of a photo: ‘What did you do? You cut off Jackie McLean's head!' And Reid Miles was a classical music buff. He never listened to any of the Blue Note records, apparently. Alfred and Frank talked him through each session."

Nonetheless, there was a synergy between the design and the feel of the records. According to saxophonist Joe Lovano, whose new album, Folk Art, is his 21st on the label since signing with Lundvall in 1990, "There was a vibe to just look at the record. You felt the personality of the players on the covers."

When Lundvall took the label's reins, he couldn't rehire Miles, who was too busy filming lucrative TV commercials; similarly, his desire to record every album with Van Gelder was thwarted, as the musicians he signed often had their own preferred studios.

Lundvall has intentionally strayed from Lion's lead in other ways: He records vocal music (to which Lion wasn't attuned) and has signed pop and soul artists. He used to divert such projects to sister label in Manhattan as a matter of course (e.g., Bobby McFerrin's breakthrough, Simple Pleasures), but he gave in to Norah Jones's insistence on releasing her 2002 debut, Come Away with Me, on Blue Note. Since then, a number of her peers have followed suit, from Van Morrison through new signing Kristina Train, a singer of blue-eyed southern soul who, Lundvall says, "doesn't sound like anyone but herself, which is what we always look for."

Branching out from jazz, the CEO admits, has been an economic necessity, not only to keep the label in the black, but also to help to fund the work of jazz musicians he considers to be ahead of their time. During his tenure, Blue Note has crossed over into Latin jazz, using its clout, for instance, to sign phenomenally proficient Cuban pianists Chucho Valdés (playing fests across Canada this year) and Gonzalo Rubalcaba (playing Toronto and Montreal). And despite his focus on acoustic music, when Lundvall first heard Us3's acid jazz, based on uncleared Blue Note samples, he decided to sign them rather than sue.

Lundvall's devotion to eclecticism has brought criticism from purists but has won unlikely converts: Even Wynton Marsalis, whom he signed to CBS in 1981 and then to Blue Note in 2003, is apparently "becoming a little more open-minded than he was a few years back, where if [music] didn't swing a certain way, it wasn't jazz, and so on."

Typical of the label, it's celebrating its 70th anniversary by simultaneously looking back and forward. Bill Charlap has helmed a septet called The Blue Note 7, devoted to playing new arrangements of important compositions from the label's history. "All of us love the music so much and have such high regard for the artists we're paying tribute to that we're aware of them looking over our shoulder," he says. Meanwhile, Joe Lovano has been touring with players of a younger generation, including his former students.

Prospective signings, says Lundvall, often tell him they "went to the university of Blue Note," having learned from its records. And as its dean, Lundvall is doing a laudable job, which the jazz fest award in his name attests to. "It's a survival award, maybe, for fighting for jazz all my life," he says. At Blue Note, "we believe in the music, and we do."

Order "True To You" CD BabyYounee, from Seoul, Korea is ‘beyond category’ as a singer, songwriter and pianist. Her exquisitely vulnerable voice can also express raw power. An accomplished and virtuoso classical pianist, she plays rock as well as Rachmaninoff. She has performed piano concertos with symphony orchestras and jazz with Grammy-winning pianist Bob James. She is an award-winning singer/songwriter (VH-1’s AC Song of the Year, and the Brit Awards composition prize) who has also written music for film and TV. She has released two albums in Korea as “Keys Piano” (2006 & 2007 – EMI & Manworldang) and performed extensively on Korean television.

When Bob James heard her music he invited her to perform with him in Seoul – his brilliant composition for piano ‘four hands’. Knowing Younee wanted to break free of the creative restrictions of the Korean music business, James suggested she contact American producer/composer/arranger Richard Niles.

Niles has been a fixture of the London music scene for over 30 years with credits including work with Paul McCartney, Ray Charles, Tina Turner, Cher, Dusty Springfield, Grace Jones, James Brown, Michael McDonald, Pet Shop Boys, Westlife, Boyzone, Take That, Ronan Keating and Kylie Minogue. Jazz credits include work with Pat Metheny, Bob James, Bill Cobham, John Patitucci and Bob Mintzer. He has been called “one of the most versatile men in modern music” (Sound on Sound) and “a truly exciting musical force” (Pat Metheny).

Younee and Niles began to write songs using Skype – Younee in her bedroom studio in Seoul and Niles in his studio in London. Niles’ lyrics bring a powerful message to Younee’s emotional melodies. His arrangements and production inspire Younee to express both her virtuosity and her passion. Together they have been able to integrate contrasting elements of popular music into a unified whole, balancing tradition with innovation - a dynamic and truly unique blend of genres.

Seven out of the top 10 albums on iTunes belonged to Jackson: "The Essential Michael Jackson," "Thriller," "Number Ones," "Off The Wall," "Thriller (25th Anniversary Edition)," "Bad" and "Michael Jackson: the Ultimate Collection."

The singles "Man in the Mirror" and "Thriller" were both listed in the top 10 iTunes singles.

At Amazon.com, five of the top 10 best-selling MP3 albums belonged to Jackson, and fans were invited to share their favorite Michael Jackson memories.

There was a tremendous outpouring of grief and admiration for the singer who many felt was, like the title of one of his hits, gone too soon. Jackson, 50, died Thursday after suffering cardiac arrest.

Mary Ann Nietz wrote, "I grew up with Michael Jackson, and I will never forget the incredible artist he was. He will live on in our hearts as the greatest pop star of all times."

Gwendolyn V. Schilling wrote on the site that "Michael Jackson will never be forgotten, he'll always be loved by all of us loyal fans."

As a companion to his music, Jackson was also known for ground-breaking music videos and performances.

On Friday, the five top-selling DVDs on Amazon.com were also related to Jackson: "Michael Jackson - Video Greatest Hits - HIStory"; "Michael Jackson - History on Film, Vol. 2"; "Michael Jackson: Live in Bucharest: The Dangerous Tour"; "Michael Jackson - Dangerous: The Short Films"; and "Number Ones."

Jackson was viewed by many as the consummate artist, having found success in the music industry while still a child as part of a group with his brothers, the Jackson 5.

He first established himself as a successful solo artist in 1979 with the release of his album "Off the Wall," which went on to sell more than 7 million copies.

In 1982, he was elevated into superstar status after the release of "Thriller," which became the best-selling album of all time. Seven of nine original singles from the album became top 10 singles, the album was certified 20 times platinum, and it earned 11 Grammy nominations.

Later albums like "Bad" and "Dangerous" also enjoyed some success, though not as much as "Thriller." His 1995 release, "HIStory" -- a best-of collection with a few new cuts -- fell short in sales and is considered to be one of his least embraced albums.

[NY Times] For his legions of fans, he was the Peter Pan of pop music: the little boy who refused to grow up. But on the verge of another attempted comeback, he is suddenly gone, this time for good.

Michael Jackson, whose quintessentially American tale of celebrity and excess took him from musical boy wonder to global pop superstar to sad figure haunted by lawsuits, paparazzi and failed plastic surgery, was pronounced dead on Thursday afternoon at U.C.L.A. Medical Center after arriving in a coma, a city official said. Mr. Jackson was 50, having spent 40 of those years in the public eye he loved.

The singer was rushed to the hospital, a six-minute drive from the rented Bel-Air home in which he was living, shortly after noon by paramedics for the Los Angeles Fire Department. A hospital spokesman would not confirm reports of cardiac arrest. He was pronounced dead at 2:26 pm.

Wednesday, June 24, 2009

Marcus Johnson IS Poetically Justified. Award winning jazz pianist Marcus Johnson's latest album Poetically Justified has debuted at #5 on the Billboard Contemporary Jazz Charts within fifteen days of the albums release. Known for his unparalleled success as a composer, producer, record-label founder and businessman, Johnson's eleventh solo jazz record was released on June 2, 2009. In a recent interview with the Washington Post Magazine, Johnson best describes his philosophy in his own words:

"In everything you do and dream, know it is possible. Know that you can and will be successful, keep the determination and persistence...and know that with all of this and faith, you will have a long Poetically Justified Journey."

Best described as a combination of urban jazz with a slice of funk, Poetically Justified features collaborations with industry greats such as R&B legend Miles Jaye, Maysa of Incognito and Grammy-nominated saxophonist Najee. No stranger to success, Johnson's previous albums FLO: Chill, FLO: Romance, FLO: Standards and The Phoenix also ranked on Billboard's Top 10 Jazz Contemporary Charts. Johnson's musical masterpiece was produced through his independent label Three Keys Music, a division of Marimelj Entertainment Group.

Johnson's educational background compliments his successful career as both an artist and entrepreneur. Upon graduation from Georgetown University where he completed a dual JD/MBA program, Johnson embarked on a mission to make a difference in the world through music.

Tuesday, June 23, 2009

Despite being only 14 years-old, Brandon Burrows is going places. The soulful pop crooner just released his debut disc, On The Move. The title track has been garnering radio spins across the nation and reviewers are beginning to notice the talented teen that possesses the poise and passion of an old soul.

The seventeen-song collection, produced by Amber & Rob Whitlock, is comprised of compositions by iconic singer-songwriters Stevie Wonder, John Lennon, Paul McCartney, Jimi Hendrix, Cat Stevens, Bob Marley, Ray Charles, and Kenny Loggins along with a pair of originals, including one co-penned by Burrows (“Chase Your Dreams”).

To launch the album, Burrows performed with a full band in a packed club Memorial Day weekend in San Diego, his hometown since moving from Guam at the age of four. He’s looking forward to taking the stage again for additional Southern California shows.

Meanwhile, some critics have hailed Burrows as a gifted artist to watch. “He's got depth, range and a lot of heart and soul…You will definitely hear more from Brandon, one of the best young talents we have heard in a long time!” (O’s Place Jazz Newsletter). “It takes major confidence to tackle some of the biggest pop, gospel and R&B songs…But Burrows gets the job done in fine fashion…On The Move is an impressive debut and now sets the stage for what should be more great music from this rising star.” (N2Entertainment.net) “This is timeless stuff…all delivered with gusto and an authority that belies Brandon’s age. Comparisons will be made to early Michael Jackson (Brandon’s cover of the Jackson Five’s ‘I Want You Back’ will definitely take you back and aback.), so get aboard the early fan-base. Believe me, this kid has talent to spare!” (SmoothJazz.com)

By Jeff Winbush allaboutjazz.comBack when he was pumping out power chords for Jefferson Starship (later trimmed down to simply Starship) guitarist Craig Chaquico performed on one of the band's biggest and last hits, “We Built This City.” That song would later top VH-1's The 50 Most Awesomely Bad Songs...Ever as the absolute worst rock song.

Chaquico didn't deserve the blame for that song's cheesiness. When he was playing rock n' roll he was a pretty formidable guitarist and when he went solo he surprised doubters with his debut, Acoustic Highway (Higher Octave, 1993), displaying his New Age and contemporary jazz skills.

On his first album in four years and on a new label, Chaquico moves further into the smooth jazz camp in search of greater commercial success, but without spurning his spiritual roots in both Latin and Native American music.

Which makes Behind the Sun something of a balancing act for Chaquico. Things start off fine with “Lua Da Mae” and “Azores Lisboa,” two sizzling hot slabs of the kind of Latin jazz-rock that once was the staple of Carlos Santana, but has been mostly abandoned in recent years. Things proceed nicely right up until “Lights Out San Francisco,” an updating of the original version from Once In A Blue Universe (Higher Octave, 1997) that squanders Peter White's Spanish guitar with corny lyrics and thin vocals from Rolf Hartley.

Chaquico is an interesting guitarist with a lot of ideas, but even he can't make a cover of Kenny G's “Songbird” intriguing. It's an overt tribute to the sax man's ability to move product, but “Songbird” is to jazz what “We Built This City” is to rock; a triumph of slick commercialism over creativity.

Things pick up nicely with “The Coast of Orion,” “Island Breeze” and the closer, “Solar Wind,” where Chaquico focuses on just playing instead of crafting radio-friendly fodder.

As an artist who plays with power, finesse and passion, Chaquico's recordings never fail to impress repeatedly, but those moments are scattered sporadically throughout Behind the Sun. Some curious choices in material make this a worthy addition for fans, but others may just wonder if this is the same rock n' roll dude from the '80s, only with no mustache and shorter hair.

Friday, June 19, 2009

Listening Address Change. City Sounds Radio has changed internet providers.

How does this effect your listening experience?If you listen through the website listening box at http://www.citysoundsradio.com, it will not affect you at all. The main reason is that when you hook up through the website, you are sent to Loudcity's Tune In page to connect. If, however, you have the IP address bookmarked in your favorite player you will need to enter new numbers. The new address will be http://72.8.159.118:8144. If you enter that url into your player you'll be up and running.

Technical issues with the previous provider caused this move again and City Sounds decided to relocate in hopes of better stability for you...their listeners. They know many of you have been with City Sounds Radio for a long time and they thank you for that. Hopefully, this will stablize the situation.

Thursday, June 18, 2009

A federal jury on Thursday found Jammie Thomas-Rasset liable in the nation’s only Recording Industry Association of America file-sharing case to go to trial, dinging her $1.92 million for infringing 24 songs.

Thomas-Rasset (then just Jammie Thomas) went to trial two years ago, and was ordered to pay $222,000 by a different jury for the same songs. The judge in the first case declared a mistrial. Thomas-Rasset opted for a new trial instead of settling like the 30,000-plus others the RIAA has sued or threatened to sue for copyright infringement.

Clearly, the Minneapolis jury didn’t buy her latest version of events. This time, she testified that her children might have used her computer to file share on Kazaa. The previous trial, she testified a file-sharing hack or crack hijacked her WiFi connection, even though she didn’t have a WiFi router.

Under the Copyright Act, juries can award damages of up to $150,000 per pilfered track. About $3,500 was the average payment in the thousands of RIAA cases that settled out of court.

In December, the record labels announced they were winding down their 5-year-old litigation campaign and instead began lobbying ISPs to disconnect music file sharers. But the RIAA, the labels’ litigation arm, said it was continuing with the hundreds of cases already in the legal pipeline.